Oil on canvas
55 x 46 cm.
Van Gogh Museum, Amsterdam.
"Van Gogh's early paintings were predominately dark and sombre scenes of peasant life, but when he moved to Paris to live with Theo (his brother) in 1886, he discovered how much he loved the delightful rich colors of Japanese prints. In his late Paris period Van Gogh admired this graphic art so much that he made three paintings in the style known as japonaiserie, based on prints of Keisai Eisen (1790-1848) and Utagawa Hiroshige (1797-1858) (Figs. 1 and 2). In 1888 he moved to Arles, from where, on 15 July, he wrote to Theo "All my work is based to some extent on Japanese art." Van Gogh's admiration for Japanese art became something of a religion for him. As he saw it, if modern art were to have a future, it must look toward, and indeed, be totally inspired by, the art of Japan. "For my part I don’t need Japanese pictures here, for I am always telling myself that here I am in Japan," he wrote from Arles. He observed everything around him as if it were "through Japanese eyes," and in this way noticed the tiniest details in the natural setting."
With the treaty of Kanagawa in 1854 between the American delegation headed by Navy commander Matthew Calbraith Perry (1794-1858) and the Japanese shogunate government, a period of 216 years of Japanese isolation ended. In the years following, huge numbers of Japanese artifacts and handicraft articles flowed to Europe, mainly to France and the Netherlands. The Paris Exposition Universelle in 1867 had a Japanese stand and showed Japanese art objects to the amazed public.
All things Japanese were suddenly stylish and fashionable. Shops selling Japanese woodblock prints, kimonos, fans and antiquities popped up in Paris like mushrooms. The Impressionist painters and Post-Impressionists like Claude Monet, Edgar Degas, Toulouse-Lautrec or Paul Gauguin were attracted and impressed by Japanese woodblock prints. In 1875 Claude Monet created his famous painting La Japonaise, showing his wife dressed in a Kimono and holding a Japanese fan. He later contemptuously called his own painting "trash".
The term Japonisme was created by the French journalist and art-critic Philippe Burty in an article published in 1876 to describe the craze for all things Japanese.
Van Gogh saw Japanese prints for the first time in 1885 in Antwerp and bought a few. In the years ahead he should buy many more. Japanese prints were cheap at that time. Many were reproductions made only for export to Western countries.
In 1886 Vincent van Gogh moved to Paris. Van Gogh's brother Theo ran an art gallery in Montmartre. He too brought Vincent in contact with ukiyo-e. In Montmartre there was a little shop with Japanese prints, called the Bing Gallery after its owner Samuel Bing. Mr. Bing kept thousands of Japanese prints on stock. The Bing Gallery was next to van Gogh's apartment and Vincent spent days in the shop and became an avid collector of ukiyo-e.
Copying Japanese Prints In 1887 van Gogh's admiration for Japanese art forms led him to paint copies of two famous designs of Hiroshige, the great Japanese landscape printmaker. One print is the Bridge in the Rain (see above) and the other shows a Plum Tree in Bloom (see above). Hiroshige was one of the few artists who had used some Western elements in his print designs - the most obvious Western element was the use of perspective, visible in the Bridge in the Rain.
These two Vincent van Gogh paintings after Hiroshige are rather free transcriptions. Vincent added frames to the originals and decorated them with what he considered to be Japanese characters. And van Gogh's use of colors was not very close to the originals. Instead he used his concept of complementary colors like the green against the red.
"I envy the Japanese artists for the incredible neat clarity which all their works have. It is never boring and you never get the impression that they work in a hurry. It is as simple as breathing; they draw a figure with a couple of strokes with such an unfailing easiness as if it were as easy as buttoning one's waist-coat." Van Gogh in Arles In 1888 Vincent van Gogh moved to Arles in Southern France. He arrived in springtime and the strong colors and the light of the landscape gave him new energies. He painted continuously - landscapes, still life and portraits of ordinary people. The influence of Japonisme is obvious in his paintings. The use of black contours is a typical element of Japanese woodblock prints. It reinforced the expressive power of the paintings of his last 4 years.
Van Gogh's health and mental stability deteriorated. He shaved his head to "look like a Japanese monk". In Arles he was feeling himself like being in Japan. He wrote to his sister: "Theo wrote that he offered you Japanese woodblock prints. That is certainly the best way to understand which direction the light and colorful painting has taken. Here I need no Japanese woodblock prints, because I am here in Japan. This is why I only have to open my eyes and paint the impressions that I receive."
In 1890 van Gogh shot a bullet into his chest and died several days later on October 29, 1890.
1. What perpetuated the influx of Japanese art to Europe and beyond after it had been excluded from public view for so long? What was the outcome of this exposure?
2. van Gogh was deeply inspired by both his own environment and the art of a country that he never visited. What inspires you? Explain.
3. Respond to this quote by van Gogh: "I envy the Japanese artists for the incredible neat clarity which all their works have. It is never boring and you never get the impression that they work in a hurry. It is as simple as breathing; they draw a figure with a couple of strokes with such an unfailing easiness as if it were as easy as buttoning one's waist-coat."